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MONEY 

HUNCHES 

FOR THE ARTIST 



“ The worth of a thing is what it will bring ” 


y 

MONEY 
HUNCHES 
FOR THE 
ARTIST 







MONEY HUNCHES 

FOR 

THE ARTIST 

OR 

ART SENSE AND DOLLARS 



1 

BY 

TERRY GILKISON ‘ 





‘He that can read and meditate 

o 

will not find his evenings ^ 
long or tedious.” 


ED I CAT ED to all those 
who aspire to enter the art 
field. Here’s hoping that I have 
something within these covers 
that will assist the art pilgrim 
along the pathway to Success. 


) 

AIJG 14 1918 

©CI.A504380 t' 

Copyright 1918 

By Terry Gilkison 


M, 0 'V 




MONEY HUNCHES 


3 


V 

Opportunities in Art 

NO - 

Unlimited Field Awaits Artist Today 

The opportunities in the art field are greater today than ever 
before—an unlimited field awaits the artist trained to do practical, 
j \ip-to-date work. Artists are constantly dropping out: their places 
* must be filled. Then more artists are being added to studios, news¬ 
paper offices, advertising and engraving houses, etc. The magazines 
and newspapers—thousands of them—the engraving houses, the motion 
picture studios, book publishers, the chalk-talk field, all offer opportun¬ 
ities for the artist. 

The average employer does not have time to train an artist to 
do the work he wants. He wants only the men that can “step” into 
the job and make good. He wants the fully qualified and as a general 
rule will pay accordingly. 

Therefore, it is for the art student or artist to gain as broad a 
knowledge of his work as he can, so as to be able to handle the practical 
up-to-date work that the present day employer demands. 

If you have talent and apply yourself, your work will soon command 
attention. A recognition in any profession, and especially in this line 
of work, means a well-filled purse and a name in the hall of fame. 


“If a man can preach a better sermon, write a 
better book, or make a better mousetrap than his 
neighbor” he doesn’t “build his house in the 
woods” and expect “the world will make a beaten 
path to his door.” 

He realizes that he has performed a service to 
Humanity, so he moves out on Main Street and 
proceeds to tell his fellow men all about his ac¬ 
complishment. His job isn’t complete until he 
tells—Humanity can’t get the full benefit until it 
knows .”—Better Business. 


BREAKING INTO THE CARTOON FIELD 

There are various ways in which an art student may start into 
the cartoon work. But whatever way he happens to have the op¬ 
portunity to enter by, he should remember that it requires a great 
deal of hard work and persistent effort. He should try to overcome 
the difficulty and not become discouraged. 








4 


MONEY HUNCHES 



Pencil Drawing from Photograph for “Men About Town” Series 




MONEY HUNCHES 


5 


An art student who has arrived at the point where he can draw a 
cartoon fairly well, wonders how his work would look in print and 
longs for the time when he will see his first cartoon printed. Improve¬ 
ment in his work is always more pointed after seeing his first work in 
print, for he is able to see many of his mistakes which he cannot see 
in his original work, and correct them to a certain degree. The fault 
of most embryo artists is to fill their drawings too full of pen lines— 
“ overwork ” their drawings. The safest way to be assured of good 
reproduction of your work is to keep your pen lines as simple as pos¬ 
sible. Handle most of your earliest work in black and outline. 

It is a great dfeal easier for a young cartoonist starting out to get 
work printed in smaller papers than in large metropolitan dailies. 
Election time in any town affords a “big” opportunity for the budding 
genius to show his ability and break into print. Draw up one or two 
cartoons of local nature and take them to an editor and he will be 
glad to look at them and give you his opinion; this will be of some 
value to you. If there is considerable contention between the local 
political parties, you can very easily get into some work there. Go to 
one or the other of the two parties and offer to make up a good, snappy 
and catchy drawing which will cause influence against the other 
party. It is a good idea to have your sketch penciled out and show them 
just how this will look. If the party can see the value of a good, catchy 
cartoon, he will be willing to repay you very well to make him a series 
of drawings for this purpose. If you have trouble in this work, offer 
to make some for him free, if he will use them, and in many cases 
the editor or politician will accept your offer. In this way you will 
get a start, and establish a name for yourself. You can follow it up 
with more later on, and the experience will be of great value to you. 

When you are starting out to secure a position on a paper, you 
should at first determine just when and how you are going to get to 
talk to the editor. Find out just when he has time to stop with his 
work and give you some attention and consideration. It is almost 
useless for you to try to get an interview with a busy editor near 
“press time,” and if you did, he probably would not give you much 
consideration. However, if you approach him at the right time as a 
general rule he will be more than glad to look over your work. 


WHY IS A CARTOON—A—CARTOON? 

Well, we’ll bite. Why is it? Millions of people go along every day 
seeing, reading and being influenced by cartoons. Yet what is it? 
Very few could tell you offhand. Let me go to the bottom of the matter 




6 


MONEY HUNCHES 


and impress clearly the meaning of a cartoon in its full sense. But 
even then, when we resort to Webster, he seems to fall far below our 
expectations by saying that a cartoon is: “a drawing on a large sheet 
of paper or parchment.” However, that might have been satis¬ 
factory at the time Mr. Webster was on earth. Yet a cartoon has 
far outstripped that narrow field, and to keep pace with the rapid 
advancement of the world’s progress, today the cartoon has become 
the most important yielder of personal and public opinion in which 
may be brought to light some important topic of national importance 
—some evil condemned, or some virtue heart'ly commended. In a 
recent issue of Cartoons Magazine there appeared a wonderful article 
by Mr. George J. Hecht on “How the Cartoonist Can Help Win the 
War.” This article heartily commended the wonderful effort which 
is being put forth by American cartoonists to sway public hatred 
toward Germany. 



So you can readily see the important position the cartoon holds 
in the world’s literature. 

A cartoonist can express ideas which an editor or author would 
not dare write. What editor has done as much to sway public opinion 
as Has Louis Raemakers in his crusade against Kaiserdom that re¬ 
cently caused Emperor William to put a price on his head? 

While the history of drawing and art dates back many centuries 
cartoon craft itself is scarcely over two hundred years old, Hogarth, 
an Englishman, being the creater of cartoons and the first real “car- 
tooner.” When a young man he used to make crude sketches, and 
on one occasion a fight took place on the street of his town and Ho- 

















MONEY HUNCHES 


7 


garth was on hand to sketch it. His fame soon spread. The cartoon 
field of America owes much to the great work of Thomas Nast, whose 
creations of national characters are still used today. 


VARIETY IN CARTOONS 

Above all you must be able to get versatility into your pen and make 
your work adaptable to all kind of demands and circumstances. If 
you were a cartoonist on a big daily paper and were doing the majority 
of the art work such as political cartoons, sports, comics and lay¬ 
outs, you would be required to get variety in your work beyond a 
question of doubt. If you went along every day in the year turning 
out a certain kind of political sketches and did not keep them up to 
the minute, your work would not be a source of much value to the 
newspaper using it. Do you realize that there is not a writer in the 
country that can express with his pen the same feelings and conditions 
as can the cartoonist with a cleverly executed pen drawing? For 
instance, during the election times the voters are largely influenced 
by the widespread circulation of cartoons. Where one man reads 
and is influenced by an editorial from fifty to a hundred see the cartoons 
and are influenced by them. 

Therefore, the cartoonist must keep his work seasonable and up 
to the minute. At the time the Red Cross work is at its height he 
should not be wasting his time making cartoons on the subject of base 
ball or some other subject which the people care nothing about at 
that particular time. 

A SERIOUS cartoon is one that only a few successful cartoonists 
can execute with any degree of perfectness. It is something different 
from the average daily run of slap-stick fun stuff which so many car¬ 
toonists make every day. A serious cartoon is required and fits in 
perfectly on such occasions as some big fire or earthquake, the 
death or assassination of some well known man, and also at the time of 
some historical landmark such as Thanksgiving, or Decoration Day. 


WELL KNOWN CARTOON FIGURES 

Symbols have been created by cartoonists to represent the differ¬ 
ent nations and corporations. As I have referred to before, Thos. 
Nast did much to create many of these characters such as the British 
Lion, Tammany Tiger, Russian Bear, the Republican Party Ele¬ 
phant and many other characters such as Uncle Sam, John Bull, etc. 

I would, by all means, advise that every student study and become 
thoroughly familiar with all of these symbols for the reason that 





8 


MONEY HUNCHES 



This is an important branch of work. By studying and working directly from the figure you become familiar with proportions and wrinkles_as they 

really are. Note the subject I have reproduced here—Old Mexican Costumes.’ 





























































































MONEY HUNCHES 


9 


he will have use for them in his every-day cartoon work. Nothing 
helps to make an international cartoon stand out any more than a 
cleverly executed drawing of any of these characters. On the other 
hand, if you can not make a good likeness of these characters your 
ideas are ruined. What meaning can you comprehend from a cartoon 
in which there are four or five characters representing the nations 
of Europe, yet none of them have character about them? Even if you 
label or tag all your characters, your ideas do not meet the average 
reader who has not the time to stop and study out your point. 

I would advise you to clip for your “Morgue” all these different 
characters which are used in the daily cartoons. Study the different 
cartoonists conceptions of these characters. 


THE SIZE TO MAKE YOUR DRAWING 

Make your drawings twice as large as the printed reproduction is 
to appear in the paper. In this way your work will show more of a 
finished appearance about it when printed. In the original you can 
work out detail better in a large drawing then in a small one. Your 
lines will be much evener and will have a refined appearance in the 
reproduction. The average newspaper is about 7 columns wide which 
is equal to 153^ inches. Therefore, when making your drawing for a 
seven column strip it should measure a little over thirty inches wide 
and the depth should be between eight and nine inches. It is best to 
draw a panel or layout around the outside and when you have decided 
upon how many pictures it will take to bring out your idea and have 
penciled them out, you can divide each sketch with a line. I would 
advise the use of a ruling pen for this. 

Most of the artists that draw the big comic strips usually draw a 
Sunday comic page also. If your idea is successfully used daily, you 
can usually make it up in full page form very easily. This will naturally 
give you more publicity and increase your salary. 


DRAWING FOR REPRODUCTION 

Before you can draw pictures which will make good clear repro¬ 
ductions or cuts you must become familiar to a certain degree with the 
process of photo-engraving or zinc etching. There are a great many 
people who do not have the slightest idea how a drawing is transfered 
to the printed page. And while the average art-student has become 
fairly familiar with this, he fails to appreciate the fact that the re- 





10_ MONEY HUNCH ES 

duction of the cut is either going to improve and refine the appearance 
of his product or it will utterly ruin it. From hence comes the term 
“Printing Quality” which means that if the right kind of handling is 
not used in the lights and shadows the reduction will cause these to 
run together and blot. 

The drawing when finished by the artist is taken to the engraver, 
who makes a photograph of it on glass the exact size you wish the picture 
to appear in the paper. This plate being developed similar to the 
average photograph, the film is then loosened from the glass and re¬ 
versed for the reason that when it is “printed” on the sensitized zinc 
it causes a reverse in the image. It is then put in a frame and exposed 
to an intensely bright light which transfers an image of the drawing 
to the zinc plate. A solution of “dragon's blood” is spread over this, 
and then washed in a bath of nitric acid, which eats away the zinc 
except where the lines of the drawing appear, these being covered with 
the “dragon's blood.” The plate of zinc is then mounted exactly 
“type-high” and is then ready to assiime it's position in press form. 



‘Open All Night” Clalk Talk Idea 





MONEY HUNCHES 


11 


Newspaper and Magazine Field 


The Artist—and What He Does 


NEWSPAPER AND MAGAZINE WORK 

The magazine and newspaper comics offer great opportunities to 
the artist who wishes to free lance, and also remunerates him or her 
very lucratively. This market is a large one and ever-increasing. 
Personally, I can state that I have found this one of the best markets 
in the field for the amateur artist starting into the work. Well do I 
remember the first drawing I ever sold was to “Judge.” It was just 
a small drawing about 2x5. I received $5.00 for it. I was still in high 
school at the time. 

Comics with jokes attached, the conversational or one or two line 
explanatory drawings, are in big demand. Comic weekly magazines 
pay exceedingly well for this class of art work; such publications as 
“Life,” “Judge,” “Puck,” etc. Then there are a great many news¬ 
paper syndicates that use large quantities of this class of comics with 
jokes. 

However, there is a line of distinction to be drawn between a 
“Magazine comic” and the “Newspaper comic.” In making a drawing 
to be submitted to a magazine you should bear in mind that your 
sketch should be more true to life. In other words, make it a semi¬ 
comic and not much exaggeration being used. Make your work of 
the illustrative nature. These comic magazines use a high grade of 
book plate paper and you can therefore work your drawing up much 
more in detail, using finer lines and very few solid blacks. 

On the other hand, in the newspaper comic you can go to extremes 
in exaggeration, make them as funny as possible and keep your pen 
work and detail mostly in outline and black. The newspapers use a 
very coarse, soft paper and therefore the solid blacks stand out much 
better than does the line drawing. 

I have carefully prepared a list of magazines and newspapers that 
use a great number of these comics, such as the one printed here. 

“Life”—New York, N. Y. 

“Judge”—New York, N. Y. 

“Film Fun”—New York, N. Y. 

“Motion Picture Magazine.”—Brooklyn, N. Y. 

“Puck,” “Scribner’s” and “Harper’s”—New York, N. Y. 





12 


MONEY HUNCHES 


“The Newspaper Enterprise Association”—Cleveland, Ohio. 
“The McClures Newspaper Syndicate”—New York, N. Y. 
“Central Press Association”—Cleveland, Ohio. 

“Keystone Syndicate”—Philadelphia. 

“International Syndicate Co.,”—Baltimore, Md. 

“Copic Service Co.”—New York, N. Y. 

“Wheeler Syndicate”—New York, N. Y. 

Make your drawings twice as large as you wish the print to be. 
For instance, if you wish your drawing to occupy one column in the 
magazine, make the original about five and one-half inches wide. 
Mail your drawing flat, between a couple of pieces of corrugated card 
board. Put your name and address plainly in the upper left hand 
corner of each drawing. Wrap them well and write the address on 
them plainly. It is well to include postage for their return and also a 
short note to the editor, something in this order: 

“I am submitting for your consideration a little original drawing. 
If you do not find it available you will please return it to me. 

.Your name. 


THE NEWSPAPER OFFICE 

The young artist starting out in the art field, as a general rule, does 
not know what is expected of him, and in taking up a position, usually 
goes through a few nerve racking days or weeks before he gets his 
“stride” and begins to do things the way he should to make a success 
of the job. 

Take interest in your work and always be ready to execute any 
assignment. If any one on the paper under your boss asks you to do 
anything, always show willingness to co-operate. 

Just because you happen to be drawing cartoons, do not be too good 
to draw an advertisement sketch or some lettering. Take just as much 
pains with these as you do with the comic or cartoon. This will spell 
success for you in the long run. 

The average correspondence course of instruction, or residence 
course, does not inform the student what he is supposed to do when he 
has finally landed or has the opportunities to start out by selling service 
work. Many art students are forced to learn by experience. 

If the embryo artist is going to work on a paper or in an art de¬ 
partment where there is more than one individual working, he has more 
or less difficulty in getting ahead. Unacquainted with his associates,, 





MONEY HUNCHES 


13 


ignorant of his duties, embarrassed because of his ignorance, he wastes 
more time in useless effort, dissipates more energy in worry and grows 
more despondent over his work and his career in the first few weeks 
than during any month of his later years. 

On the average small town paper the artist is under the direct 
supervision of the editor. 

The editor or managing editor does the hiring of all members of 
the entire staff. Afterwards, however, the city editor has authority 
to add men, on a reportorial staff, but rarely has charge of the art. 

The first thing that the artist has to consider when starting to work 
on a newspaper is: “What kind of work can I do to please the editor?” 
This, of course, the average artist has to figure out for himself; however, 
it is safe to say that if the editor sees that the artist is trying to adapt 
himself to prevailing conditions and help make the paper better, he 
will be more than pleased with most anything that he does and will 
meet it with fair judgment. 

It is wrong for the artist to get despondent or discouraged after a 
few ideas have been turned down by his boss. He should be prepared 
for this and always try to have something up his sleeve to “spring” 
on the editor—some new idea. 

The art student can get plenty of ideas by careful study of the local 
papers in the city or town in which he is located. 

However, do not hold yourself to the “home-town class.” Study 
all the papers throughout the country. If you are an artist working on 
a big daily, do not get the idea that you do not have to read other papers 
outside of your city. It is always a fine idea for you to read papers 
from other cities. 

Many times the small papers have “hunches” that can be duplicated 
or will suggest something else to you that you can use. Read as much 
as you can find time for. 

Next to the managing editor, the city editor comes into the consid¬ 
eration of the artist or cartoonist. 

If the artist is doing layouts besides his comics or cartoons he will 
have to work with the city editor a great deal. 

The city editor has charge of the “city desk” and all the reporters 
on the staff. These reporters are continually bringing in photos or 
having the staff photographers take pictures of current events, and 
pictures of people featured in late news. The city editor gets the photo¬ 
graphs first, then decides on what size he wishes the cut—one column, 
two columns or so; then turns it over to the artist to retouch (this 
means darken the eyes or bring some light spot on the face—the average 



14 


MONEY HUNCHES 


engraver will show you just where he wants it retouched). Then the 
artist takes it to the engraving room, and the engraving department 
makes a cut of it. 

We have been talking about the average newspaper in the average 
city or town; but the artist will find that they are not all the same 
throughout the country. Of course, the big metropolitan paper that 
has an art department of ten to fifteen artists, varies from the small 
paper somewhat, but is on the same general plan. Almost always in 
art departments there is a “boss” artist called the art manager. 

He has charge of all the art work and tells the beginner just what 
to do. 

The average editor always likes to see a nice pencil sketch of the 
cartoonist’s idea for the cartoon. 

The cartoonist should take pains in penciling out his idea so that 
the editor can grasp the point at once. Never submit a mussed pencil 
sketch. 

When the beginner presents himself for work he should do so in a 
very business-like manner, asking to see the managing editor and 
waiting until he can get a personal interview with him. Always have 
a few good samples of your work to show. Request him to give them 
his consideration and ask if he has an opening at present for an artist. 
Leave your card and address with him and tell him that you will be 
glad to have him call or write you in case he should be in need of an 
artist at any time. 

When the city editor says for you to go get a certain sketch he 
wants you to go get it and get it quickly, and even more so if you are 
working on an afternoon paper and it is in the mornnig. 

You should know the deadline and just how much time you can have 
in making your sketch up and guide yourself accordingly. 

Many times the city editor is forced to use the artist to sketch 
likenesses of people when the staff photographer can not get near them. 

I once read an article by Satterfield and it contained some very 
good suggestions. It read something like this: “When the city editor 
assigns you to 'go get them’ just show him your heel and later the 
goods. Remember, artist friend, that you are no super and the editor 
is dependent on you. Even though the rather late developments of 
news photographers stacks you up against extraordinary competition, 
you and your sketch pad remain an invaluable newspaper asset. 

There are times when and places where the photographer can’t 
get within a mile of his subject. And right there is where the artist 



MONEY HUNCHES 


15 


shines. Take a convention for instance—the chairman can bar the 
photographer and his flashlight; but there's always an entree for you 
and your sketch pad. In a few lines you can get the likeness and action, 
and the condensation of the thing is sure to please the editor and the 
makeup man ” 


HOW TO SYNDICATE YOUR OWN WORK AFTER YOU HAVE 
ARRIVED AT A FAIR SUCCESS 
Syndicate work means supplying a service for two or more papers. 
The service is generally the same and the papers are most always 
located in different parts of the country. Some of the larger syndicates 
have as many as five hundred papers taking their service. There 
are many different services. Some syndicates try to furnish a com¬ 
plete all-round service and cover the whole United States. This com¬ 
plete service consists of news features, editorials, cartoons, comic 
series strips, etc. 


LAYOUT WORK 

To understand layout work thoroughly you must see the working 
of an artist doing these and also the engraving end of this line. 

However, it can be explained to some extent. ' 

The photographs received by the artist must be retouched—that 
is, the eyes must be darkened and the photo in general brought out so 
that it will make a more distinct halftone, and so that they will show 
well when printed. Sometimes, owing to the coarse screen of the half¬ 
tone, the pictures are cut up and do not print well. 

There are two layout systems. One is called “Velox” and the other 
“strip-in.” 

In the “strip-in” system the artist makes a layout the size he 
wants and blacks in solid black where the engraver is to “strip-in” 
the negative of the photo. 

In the “Velox” system the engraver takes the photo and makes 
what is called a velox print—this the artist pastes down and draws a 
border or design and puts the lettering on it. 

Layout work should be studied by all artists and art students, as 
it offers an easy way to break into the art department. There is a 
big demand for a good layout man in any part of the country. 

It is very essential for a layout man to be good at lettering. Prac¬ 
tice on making neat lettering and clever little border designs. Layout 
being rather mechanical, you can, after you have acquired a few differ¬ 
ent designs, stick to them; but it is best to try to get some variety in. 
your work. 





16 


MONEY HUNCHES 


THE COMIC ARTIST 

The comic artist labors to make his readers laugh rather than to 
make them think, while the object of the political cartoonist is to 
cause people to think and to influence them for or against some certain 
thing or principle. On the other hand the comic artist seeks to present 
in a humorous manner the brighter things of life. The artist who can 
portray the common things in an entirely different and humorous 
way has succeeded in his labors to bring a laugh. To make a success 
of this work one must study nature closely. 

A comic is usually an extreme exaggeration of true life, for in ex¬ 
aggeration lies the secret of humor. If you study the creations of the 
foremost “comicers” you will notice that they do not resort to excel¬ 
lence in drawing to bring out their humor, though I do not want you 
to get the impression that a funny drawing is a carelessly made one, 
but instead it should be a simple sketch with strong facial expression, 
simple figures and few pen lines, but handled in outline and black 
mostly. 


PUTTING OVER A COMIC STRIP 

Cartoon comic strips have become one of the most popular mediums 
of newspaper comics. Their originators have made fame and fortunes. 
Perhaps the best known and cleverest is “Mutt and Jeff,” “Bud” 
Fisher’s comic strip success. Mr. Fisher got his idea for this strip 
while working as a layout artist on the “Chronicle” in San Francisco. 
It was during the horse racing craze in the west, and his “Mutt” 
character happened to be a similar individual which frequented these 
places. Likewise you will find it best to try to found your comic on 
some living individual for you will be better enabled to get true charac¬ 
ter into your work. 

Other popular strips are: “Polly and Her Pals,” “Jerry on the 
Job,” “Bringing up Father,” “Doings of the Duffs,” “Percy and 
Ferdie” and “Hairbreadth Harry.” 

In a strip, the same characters appear daily, enacting some funny 
happening of the day or of the home life, bringing out some common 
happening in an entirely new and different way. The strip usually 
has a series of four or five pictures, each picture showing a successive 
development of the idea, the last depicting the climax of the series. 
The idea is to make the last picture or climax as strong as possible— 
spring somewhat of a surprise on the reader. If you will make a study 
of the different strips you will note that the artist has some “pet” 
way of ending his series which he uses at different times, and you will 




MONEY HUNCHES 


17 


find this a good idea, for it gives character to your work. However, 
I would not advise your copying anyone's style or ideas; but to illus¬ 
trate my point, you will find that a certain artist often winds up his 
series by showing one of the characters flying through the air with a 
brick hitting him on the head. 

In beginning comic strip drawing, I would advise you to study 
carefully the different successful strips and note carefully just how 
they are handled; then work yours up in a similar manner. If you 
have any degree of individuality about you, it will show up in your 
finished product, and therefore make your work original. As I have 
said before it is by all means best to found your comics on some funny 
character you know, for every locality has its “boob" or stupid 
character, or a man and a woman who are continually wrangling; and 
last but not least, there is usually an “old maid" who is the butt of 
some joke all the time. As I have before suggested, draw your 
strip similar to the others you study. I do not mean to “copy." 
A copy is of no value to anyone. ABOVE ALL BE ORIGINAL. 
The more original your idea the more demand there will be for it, and 
the greater chance for its being a big success. 

The artist who has learned to draw in a fairly efficient manner 
must then set about developing his ABILITY to think and originate. 
In the first place, your ideas must be timely and on something which 
is foremost in the mind of the public. Some humorous situation hap¬ 
pens nearly every day which receives many columns of comment in 
the papers and a timely little comic on the subject will at once catch 
the eye of the busy reader. It might be a submarine battle—a riot—a 
wrangle between prize fighters—funny ideas about the draft boards— 
or last, but not least, comes the “weather." 

When you have ransacked your mind—explored the floor, walls 
and ceiling of your room—dug into every old book and magazine you 
could find—you scratch your head and fidget around. You then get 
up and throw out the big black cat that has been sitting admiring 
you all the while. Then you commence to “DIG." Finally to your 
relief four ideas come to you all at once. You sketch them out roughly 
on separate sheets of paper and start to compare them. Your final 
decision is that they are all—ROTTEN. At last to your disgust the 
guy comes in that has been telling you: “Why I'm full of ideas; I've 
got lots of good ones, but I never could draw 'em." Becoming angry, 
you pick up a chair and suddenly remember the old saying: “He 
won't be happy 'till he gets it." When you have finished with him, 
you sit down and make a picture of “the whole gol durned thing." 
So you see, after all, getting the idea is very easy after a little practice. 



18 


MONEY HUNCHES 


Hands and Feet 

Above all learn to draw HANDS well. 
Hands are used by nearly every artist and 
cartoonists as a valuable means of expression. 
It has been said that a good professional artist 
work can be told from a poor one’s by the meth¬ 
od in which he draws hands. Many artists 
overlook the fact that well drawn hands are 
one of the most important features in their 
work. 













MONEY HUNCHES 


19 


CREATE A SIGNATURE 

At first you may think that this is a trivial matter but as you 
gradually assume a more professional style, you will readily see the 
necessity for it. Learn to feature your NAME and soon you will 
create a demand for your productions. A newspaper takes great pride 
in their cartoonists, and a popular cartoonist is a great advertisement 
for a newspaper. 

Let us consider whether such names as these are of an especial 
meaning in the newspaper world: 

McCutcheon and Briggs, of the Chicago Tribune. 

Donahey, of the Cleveland Plain Dealer. 

Edgren, of the New York World. 

Kirby, of the New York World. 

Norman Linsay, of the Sydney (Australia) Bulletin. 

Raemakers, of Hearst papers. 

There are many others of quite equal note, whose creations are a 
great asset to the circulation of the publication. 

What I want to impress most emphatically in the mind of art- 
students and artists just breaking into the field, is just how valuable 
the space really is that his work occupies in a daily paper. He should 
stop to consider and to figure the grand total of these in agate lines 
and paid for at the regular advertising rate of the paper. You would 
be surprised at the enormous column of staggering figures it would 
result in at the end of a year. 

Some young cartoonists immediately wake up to this fact and go 
about the signing of their names in a very commonplace manner and in 
a very plain, easily read manner so that any peace loving citizen might 
easily discern who the creator is, while others who have allowed their 
hat band measurements to be considerably increased within the short 
time that th-ey have been in the “lime light” deliberately scrawl their 
already unutterable cognomen with all the illegible obscurity possible, 
succeeding in mingling it safely among the conflicting lines of their 
already jumbled mass of lines. Sherlock Holmes with the help of 
Watson and all the handwriting experts of Scotland Yard, would soon 
be driven to hysterics at trying to translate it. 

Therefore, as a word of valuable advice to the beginner: try to 
sign your name as legibly as possible—not artistically, but PLAINLY. 




20 


MONEY HUNCHES 


Money Hunches 


For the Artist 


THE COMMERCIAL FIELD 

Commercial art is becoming recognized more and more every day. 
Its opportunities are restricted no more to the professional than to 
the beginner. But as a beginner in the commercial art field, one can 
not expect to walk off with a big job at first, but must be content for 
a few months at a nominal salary, until you have had had sufficient 
experience to enable you to nearly do every class of work. 

With a certain degree of experience, you will soon commence to 
earn from twenty-five to sixty dollars per week, and even more, in 
fact, there is no limit to the amount the recognized specialist of reputa¬ 
tion can really earn. Many commercial artists range as high as thirty 
to fifty thousand dollars a year. However, this does not imply that 
the independent artist who sells his drawings direct to advertisers, 
does not have an equal chance. For really this is the widest field in 
my estimation for the beginner as well as the professional. 

Every community has their manufacturers, merchants, and whole¬ 
sale men who must have advertising drawings, thus making it very 
easy for the commercial artist to get in touch with his customers. 
It often occurs that these advertisers do not know just where they 
can secure this work, therefore, the artist student must try soliciting 
the different firms of your town. 


COMMERCIAL ART OR ADVERTISING DRAWINGS 

The commercial art field holds forth excellent opportunities. The 
chances for artistic handling in this line is just as good and the remuner¬ 
ation is large. But above all, you should remember that you must 
make your drawings acceptable for reproduction as well as pleasing 
to the eye. As a matter of fact, drawing for reproduction is the first 
thing to be considered. 

Advertisers are coming to recognize commercial art more and more 
—engraving houses, merchants and manufacturers are beginning to 
realize that a good catchy design attracts more attention than any 
other medium. A glance at any newspaper or magazine will show you 
the wide use of art in advertising. But, the field for advertising draw¬ 
ings does not end here. Every advertiser uses thousands of folders. 






MONEY HUNCHES 


21 


booklets, cards, fillers and business cards and nearly all of them have 
some kind of art work in their makeup. 

The commercial field opens two fields to the ambitious artist who 
wishes to push ahead and is not afraid to work. He may either take 
a regular position in an engraving house or commercial art department, 
or do “free lancing and work independently.” 

By “free lancing” I mean one who works independently and sells 
his drawings to different firms or publications. The best field for 
this, is the advertising agencies. However, some of these agencies 
maintain their own complete Art Departments and only depend on 
the “free lance” artist for some extra work. 

In advertising art work you deal largely with lettering and poster 
designs, booklets covers, comic and series folders, etc. 

In starting out to secure work, the young commercial artist does 
not seem to realize that like applying for a position in an art depart¬ 
ment, you must take some samples of your work to show. Use the 
utmost care in selecting your samples, don’t just take a bunch of any 
kind of samples and look for work hit or miss. Try to pick a few of 
your best samples of lettering, designs, “ad” cuts, comics and figure 
work. Find out through some source the name of the man or firm to 
whom you are going to show your work. Make an appointment 
with him, either by letter or telephone. He will be only too glad to 
comply with your request and you may rest assured that he will give 
you much more consideration and I believe, take much more interest 
in what you have to show him. Nevertheless, he will be in a much 
more receptive mood than had you thrust yourself upon him at the 
most busy period of the day. It will depend upon yourself to show him 
from the samples you present that you can do the kind of work he wants 
and that you are versatile enough to meet his demands. 

Do not be discouraged if at first you do not have much luck. 
Remember this field is a large one and there are many different 
kinds of work which you can get and are in a position to handle. 
There is show-card and sign-work, “Ad”cuts for newspapers, window 
cards, post cards, envelopes, etc. Advertisers are coming to realize 
more and more the real value of a good catchy comic for results. 


REMEMBER 

In taking up commercial ad work such as you see in the daily 
papers, it is perhaps, right to take cognizance of the fact that all 
drawings need not be artistic—so-called. 





22 


MONEY HUNCHES 


There is such a big demand for mere commercial work where the 
drawings are used for little more than maps of objects, while it is 
generally necessary to serve a sort of apprenticeship in an art depart¬ 
ment where this kind of work is done for trade for one to get an insight 
on the work, yet a good deal of practice may be had at home that 
will fit a student for it professionally in a short time. 


THE ENGRAVING HOUSE WORK 

The work is mostly lettering and designing. If you are going to 
apply for a position in an engraving house, draw several designs with 
letterings such as are used on letterheads. Note carefully in letter¬ 
ing to have the shadowed or heavy side of your letters correctly placed. 
Always make the small side of the letters on the up-stroke, starting on 
your letters as if you were writing. For instance, the letter “N”— 
up-stroke light, down-stroke heavy and the up-stroke light. 

Upon securing a position with an engraving house the artist will 
find that opportunities will crowd for the exercise of his highest skill. 
Should he be an illustrator, he will be called upon, as his talent becomes 
known and appreciated, to bring out the striking and dramatic features 
of the story that may be placed in his hands; should he be a cartoonist, 
he will be given many chances to level his shafts at prominent targets; 
should he be a retoucher, he will have opportunity to be brought into 
close contact with inventors and mechanics of the highest technical 
training in receiving the instructions for doing his work. If lettering 
and designing be his forte he will often be unhampered by any minute 
instructions as to what is wanted, but will be given a free hand to 
produce the best deigu of which he is capable. Real skill cannot go 
long unnoticed or unrewarded by any branch of commercial art. 


An art student can not expect to jump into a “big salaried” job 
within a few months, but if he gets his work into professional shape 
and uses his head he can expect a fairly renumerative salary for his 
services soon after he gets started into the art work. While there 
are many ways which I point out in this book for the artist to make 
side money and in many cases double his salary, he should be able to 
make a good living from one job alone. 

The average experienced artist on a newspaper or in an engraving 
house gets from $20.00 to $100.00 per week. 

The salary ranges according to the ability of the artist in most 
cases. Of course, students sometimes take positions at less wages, 
but they are able to learn faster after they are once inside of an art 
room; therefore are soon above the sum named to start. 





MONEY HUNCHES 


23 


Men About Town 

Putting On a Series of Local Drawings for Newspapers 



Portrait drawings similar to this one prove very popular as local features for 
newspapers. This is a good style for “men about town” drawings. 













24 


MONEY HUNCHES 


MEN ABOUT TOWN 

Probably one of the best money making “‘stunts” which has been 
successfully worked is the “Men About Town” series. The size of 
the town does not matter. Every town or city has its big men; there 
are politicians, bankers, stockmen, merchants and many other prom¬ 
inent men that have quite a bit of influence in the community, who 
would be in favor of this stunt. The number of prominent personages, 
of course, usually varies with the size of the town. If there is a news¬ 
paper in the town, you can get the editor to allow you to run a series 
of the local business men of the town. You will find that every editor 
will be glad to do this and also willing to help you, as it gives him a 
good local feature for his paper. You can either make one of these 
every day or one a week, whichever you prefer; however, I would 
advise making them about one or two each week, for then they will 
not tire the reader of them. 

Go to the business man personally and tell him you are going to 
draw up a series of “Men About Town,” have a few photographs and 
samples of work you have done, and tell him you would like to include 
his among the number. Always go to the best known men first— 
the bank officers, the mayor, and the postmaster. Then the others 
will fall in line, for as the old saw runs, “Great is human vanity.” 
This can be put across with moderate success even in a very small 
town, but in larger towns and cities it can be put on with great success 
and nearly every business man of any standing will want to be in on it. 
I have personally worked this stunt myself in several different cities 
and have made a great success of it financially. You can charge 
according to the community in which you are working. To show 
you how this work is handled and how to prepare your drawings, I 
have reproduced several of my own drawings in this book, which show 
you how I draw them up and you will find it a great help to study my 
handling. For variety I have used a large head and a small body on 
some of the characters. You can also make several small drawings 
around the large one if you care to. 

After you have completely covered one town you can go to another 
and work the same stunt. After each picture has been run in the news¬ 
paper, be sure to save the cut and when you are through, assemble all 
your cuts and publish them in book form. You will be able to sell 
the book for from $1.00 to $5.00 easily. Most every man in the town 
in which the drawings are used will be glad to purchase the book. 

The faces or likenesses of the business men whom you portray 
should all be drawn from photographs. If in any case you have diffi- 



MONEY HUNCHES 


25 


culty in making the drawing look like the man, you can have the en¬ 
graver that makes the cut of the drawing “strip in” the half-tone 
photograph, while you make only the cartoon and the drawings around 
it. The engraver will explain this to you if you do not understand the 
process. 



BOOK PUBLISHING 

Book publishing offers another wide field of opportunity for the 
live artist, which can be worked in connection with this “Men About 
Town” stunt in the newspaper work as an entirely separate feature. 
Book publishing has met with tremendous success where it has been: 
worked, and is not such a difficult undertaking. 

You decide upon the size of your book by the number of prominent; 
men that are in the town and lay out a “Dummy” or plan of your 
book to show your clients. You can then either have some good 
reliable man to canvass these people, or it is better to do it yourself. 
Each person is charged $25.00 for his page, this is to pay for making 
the drawing, cut, printing: and the subject is to get a copy of the com¬ 
plete book when it is out. It is understood that the subject is to furnish 
a good, clear photo of himself to draw from. You should try to get 
at least twenty prominent persons for this, and then your success is 
assured; besides your book will be of sufficient size to enable you to 
safely charge customers $1.5Q for it. 

Say you have 2,000 impressions or copies made and have delivered 
your promised copy to each subject, your contract is filled and you can 
then place on sale the book at every bookstore or news stand in the 
city or vicinity where these people are known at a reasonable price, 
which should range from $1.00 to $2.50 or more. 

If you think your volume is good enough to stand on its own merits 
and will please everyone who gets it, you might start some agents out 
to canvass the town. The usual book publisher's commission is 50 
per cent and you could easily afford to give this. 







OUR SPORT VAUDEVILLE 


WHOOP 'ER. 

OP, OL ' BOV? 

I LIKE VOUR. ACT 
ALRIGHT BUT I'M 

anxious to see 

aHAT NEXT BUKJO 




















































By Gilkison 



HE JUGGLING ACT 












































































































































28 


MONEY HUNCHES 












MONEY HUNCHES 


29 


THE WINDOW CARTOON SERVICE 

One of the easiest branches of the art game and one of the best 
money makers is the window cartoon service. It can be worked in 
any number of cartoons (large ones), for window display, placing 
these in the windows of stores around town. Let them advertise some 
line of merchandise that the store has for sale. Make your cartoons 
to the point. It is better to color them in bright colors if possible. 
Try grocers, haberdashers, and by all means, don't be discouraged by 
refusals. Ask them to let you stand the cartoon in their windows and 
see how much attention it attracts. You will be surprised at the 
results. The dealer will want a regular cartoon window service after 
the first drawing has been displayed. 

In your argument to sell your cartoon service to the merchant, 
explain to him that it is a new idea along the line of window adver¬ 
tising and tell him that there is nothing that attracts more attention 
than a cartoon. 


SHOW CARD AND SIGN WORK 

The success of this work depends upon the ingenuity of the artist 
and the ability to do good lettering. Study the styles of lettering, 
note show cards displayed in windows and work up some samples 
similar. 

Take them to the merchants and solicit work. There is plenty of 
this work to be had. Almost every store needs and uses many of the 
show cards. The artist is paid 50 cents or $1.00 for each show card, 
according to how much lettering they contain. Sign painters are well 
paid, making from $20.00 to $75.00 per week. 

In making show cards, the more artistic you make them the 
better. Try to get novel effects; put a little scene on them; always 
use flat, brilliant poster color. Any art store will give you all the 
information you want about show card writers’ materials. 

Another branch of show cards is theatrical posters, used in front 
of theaters, advertising the show. There is a wide market for show 
card writers and one of the best money making opportunities. 


HOW TO GET SIGN WORK 

Every city, town or village requires more or less work in the sign 
making line, and you have only to go after it to get a portion of it at 
least. 





30 


MONEY HUNCHES 


Have attractive cards printed and approach a merchant with a 
well prepared line of talk, but do not let it appear as if it was a studied 
or prepared speech. Make the main point of sign or show card writing 
secondary to the more valuable idea of advertising. Every merchant 
realizes that advertising is the keynote to up-to-date business methods, 
and by the value of attractive display signs which draw attention to 
his store or make people stop and look into his windows, the battle 
is half won. 

If you are located in a city where there are a number of office 
buildings, you can obtain considerable work in the way of lettering 
on glass of office doors. Approach the janitor or elevator boy in these 
buildings and give them a number of your cards and make it worth 
their while to give your card to every new tenant who comes into the 
building, or inform you when this occurs. 

An excellent and lucrative business can be founded with these 
simple suggestions. You should have little difficulty in making an 
excellent income from this work. 

Always make an effort to impress your people with the importance 
of ADVERTISING. In any cards, posters or banners which you put 
up for your own advertising, try to create a little motto which will 
cause certain comment among users of signs, as for instance: “Keep 
Advertising and Advertising will Keep You.” 



OONING.... 


When drawing small comics 
keep them as simple as possible. 
Note the above sketch for sug¬ 
gestion. 







MONEY HUNCHES 


31 


WINDOW SKETCH WORK 

Do you want to try something easy by which many other artists 
have made money quickly? All you need is a little nerve and a small 
general knowledge of drawing. Go to any store that believes in “live” 
advertising. Get yourself an easel or drawing board of some kind 
and several large sheets of paper. Tell the merchant that you can 
attract a crowd at lunch time and advertise his goods for him. 

Clear a space in the front window of his store and place your 
drawing board or easel so that passersby can see what you are drawing, 
then commence. | ►- £ bm 

Draw some funny stuff for them, then give them the “Bare Facts”; 
your ad stuff. 

You are sure to make a hit, and bring results. I have known fellows 
to make from $5.00 to $10.00 a day at this stunt alone. 



CARICATURE ON POST CARDS 

This can be worked on post cards or on business cards. It appeals 
to business men and traveling salesmen. I have also been able to sell 
it to a great many as a novelty. The idea is to draw the likeness of 
the man with a small funny body, as in the “man about town” stunt, 
but making the drawing smaller. Have the cut made the size you wish. 
If you use the chalk plate process you can make the cut yourself, 
making the drawing on a chalk plate. If you make a pen and ink 
drawing you must have a zinc etching made of it. 

Try this out on a few salesmen; you will find they will buy it right 
away. You can charge from $2.00 to $5.00 for the drawing. When 
the cut is made, the owner can have as many cards as he wants printed. 


THE FOLLOWING SUGGESTIONS MAY BE HELPFUL 
IN YOUR ADVERTISING. 

Let us put distinction and originality into your business card. 
A novelty that is bound to attract attention and prove an inter- 






32 


MONEY HUNCHES 


esting souvenir to remember you by. After using these Novel busi¬ 
ness cards once you will use them all the time. 

Send in your order Now! ! ! 

1,000 cards with your own cartoon printed on them as the one 
above for $6.00. 

You send us your photograph to draw from. We guarantee 
return of photo and also send you the cut which you can use later. 


ANIMATED CARTOONING OR DRAWING FOR THE MOVIES 

The demand for animated cartoons in the moving picture in¬ 
dustry is today far greater than the supply. The big film companies 
cannot begin to meet the demand for these “animateds” because 
there are not enough people who can draw them. 

In addition to the theatrical—which is a tremendous and ever¬ 
growing one—there are almost unlimited possibilities for these new 
live pictures in the commercial and advertising fields, these fields 
having scarcely been touched. 

Read what the “Moving Picture World” has to say about the 
animated cartoons: 

“We are glad to see the cartoon on the screen make such decided 
progress. The cartoon, more than any other form of kineamtographic 
work, emphasizes the great similarity between the screen and the 
newspaper as mediums of expression. The moving picture cartoon is 
far more effective than any stih cartoon can be.” 

An artist does not have to be a master of pen and ink to make a 
success at this work. He can study animating closely and succeed if 
he is only able to draw a little bit. In many moving picture studios 
where they are making animated cartoons for advertising work as 
well as for the feature films, they employ as many as thirty artists, 
many of whom do nothing more than black-in drawings that have been 
outlined by some one else. This is a good way for an artist to break 
into this field. I would suggest that you, if interested in this kind of 
work, find out just where the studios are located in your town (if 
the town or city has- them) and apply in person for a position. This 
work is very interesting and there is a chance for rapid advancement 
for the ARTIST that really wants to work and make something for 
himself. 

Many artists of national reputation have turned their talents 
toward this field within the last three years and are reaping princely 
salaries from it. 




MONEY HUNCHES 


33 


This work, however, is not handled by the artists themselves. 
Most of them just lay out the “setting” and “characters,” then have a 
staff of artists to animate for them. 

While a film of these comics sometimes bring a small fortune, it 
is by no means an easy job to construct one. 

You have seen such as “Mutt and Jeff” and “Dreamy Dud.” 
It requires about thirty persons working eight hours a day to produce 
one “Mutt and Jeff” film a week. 

The trick of drawing on celluloid is now used in making almost 
all animated cartoons. Only the part of the picture requiring motion 
has to have a separate drawing for each exposure of the camera. 

These drawings, made on transparent surfaces, are placed over a 
drawing of the background, which remains the same throughout a 
large part of the film, and the two are photographed at once. To get 
the wave motion, about two hundred drawings are required, as the 
first one begins again where the last one left off, in a continuous rota¬ 
tion. 

To J. R. Bray, a former staff artist on Judge, belongs the credit 
for having devised most of the short cuts that made possible the ex¬ 
tensive production of animated cartoons. Today he has a staff of 
nearly twenty artists and assistants, and is turning out a completed 
film every week. Bray’s art staff includes half a dozen high-salaried 
artists from the top ranks of newspaper and comic weekly artists. 

And in other studios in New York, Chicago and San Francisco, as 
well as other large cities, scores of former cartoonists are now working 
at this queer trade. Nearly half of the most successful newspaper 
comic strips have been animated. In the last nine months more than 
a hundred concerns have been organized to make animated drawings 
for advertising purposes. 

A studio for making animated cartoons is like a photo-play studio 
in miniature. It has its directors, actors, scenario writers, camera 
men—even scenery, for some of the backgrounds used beneath the 
celluloid are filed away when the film is finished, ready to be used 
again when another scenario calls for the same setting. 


THE “MAYER” METHOD 

There is another method of making motion picture cartoons which 
is used by Hy Mayer, whose films are released each week by the 
Universal Film Company. His scheme is to have his hand and pen 
photographed while at work, so that the cartoon is drawn on the 
screen under your very eyes. 





34 


MONEY HUNCHES 


To do this work conveniently he has had built a special apparatus 
in his studio, on which a camera is fastened, pointing directly down, 
and placed above his drawing board. 

Whenever Mayer gets an inspiration for a cartoon, he telephones 
the Universal Headquarters to send up an operator. The operator 
upon his arrival mounts the platform. Mayer sits down at his desk 
beneath him. At a given signal the operator begins to crank, Mayer 
starts to draw. Then at another signal, the operator stops and Mayer 
works on some of the details without the camera, as the filming of 
the entire drawing would be too long to keep the interest of an audience. 
The speed by which the drawing appears on the screen is explained 
by the fact that the operator throws his camera into low gear, only 
making one exposure a second, one-sixteenth the speed at which they 
are shown. 


THE MAN WHO WINS 

The man who wins is an average man, 

Not built on any particular plan, 

Not blest with any particular luck— 

Just steady and earnest and full of pluck. 

When asked a question, he does not guess, 

He knows and answers “No” or “Yes;” 

When set a task the rest can't do, 

He buckles down 'till he puts it through. 

Three things he's learned: that the man who tries 
Finds favor in his employer's eyes; 

That, it pays to know more than one thing well; 
And to hold the tongue when others tell. 

So he works and waits 'till one fine day 
There's a better job with better pay; 

And the men who shirked whene'er they could 
Are bossed by the man whose work made good. 
For the man who wins is the man who works, 

Who neither labor nor trouble shirks, 

Who uses his hand, his head, his eyes. 

The man who wins is the man who tries. 

— Door-Ways. 





MONEY H UgN C H E S 


35 



Try to get funny action to all your comics. 


































36 


MONEY HUNCHES 

















MONEY HUNCHES 


37 


The Chalk Talk Field 


NOWING just how to make your 
program “catchy” and up-to- 
date is the one thing that will 
make your “Chalk Talk” a big 
“Hit.” Always try to “spring” 
some stunt which is right at fever 
height or is foremost in the peo¬ 
ple’s mind. 

It is a good idea before attempting to give a very 
lengthy program to prepare an outline or index of 
each drawing and the chatter. This need not be 
long, in fact it can be put 
on a small card which 
can be concealed in the 
palm of your left hand or 
fastened to your board 
in a manner which will 
not be conspicuous to 
the audience. 




Cheer up! you can't get away with this 
sort of SPIRITS 





38 


MONEY HUNCHES 


THE CHALK-TALK FIELD 

Being able to “put over” a successful chalk-talk is quite an ac¬ 
complishment, and one to be proud of. After you have been chalk- 
talking a while you will find that it will help you in many ways to go 
about and make a SUCCESS of your other work. It will give you 
that assured and confident feeling before an audience and will make 
you feel more competent in many ways. 

To make a success of CHALK TALKING you need three things— 
A GOOD, carefully prepared program, an equipment and a general 
knowledge of how to present your talk; AND TO MAKE A SUCCESS 
of any undertaking, it requires GRIT AND DETERMINATION. 

I would advise that before you attempt to put on a chalk-talk 
you try to see some others in action. However, this is not absolutely 
necessary, but would give you a suggestion as to how you should work. 

After you have made a careful study of all the lesson text and 
drawings, I suggest that you try giving a little entertainment in your 
own home or some of your friends’ homes; or, better still, in some 
local lodge, church or school. This is the best way to “break into” 
the actual work of chalk-talking. 

The first thing that you will have to take up is the training of the 
hand and eye so that you will be able to draw large pictures with ease, 
for you will find there is a great deal of difference in drawing the large 
chalk-talk drawings than in drawing the small pen sketches. However, 
experience in pen drawing will be of much specific value to you with 
reference to accuracy. A good exercise to develop yourself for chalk- 
talk work, is to practice drawing large ovals and circles on a large 
blackboard. 

This will give you a free swing of the arm and train the eye to 
judge size and proportion with accuracy. 

Now when starting—REMEMBER: 

Do not rush; by all means take your time. Do not try to talk 
as fast as you can: speak slowly and clearly. 

Do not follow one joke right on the heels of another, but wait- 
“give 'em time to get it, and let it soak in.” 

Do not lose self control or get confused or “fussed.” 

Practice or rehearse all your sketches and pictures at home before 
trying them on the platform, if you have not had much experience 
before. 



MONEY HUNCHES 


39 


\ I////. 



ike d^ecL Cross 


This is a good one to include in 
your program—It's timely—and 
patriotic. 



“This fellow who does not re¬ 
member of having spent an even¬ 
ing outside of a pool room says: 
“'Taint Nice to Fight.” 


“ORIGINALITY” 

Do you realize the importance of being ORIGINAL? I am sure 
you do if you are a professional chalk-talker or if you are studying 
and practicing with the idea of becoming a chalk-talker; you can not 
lay enough stress upon YOUR ORIGINALITY. 

NOW GET ME RIGHT—I do not mean that you have to worry 
yourself peevish trying to think of something new and original. As 
a matter of fact, that would only make you less likely to put over 
your stunts successfully. What I mean by originality is this—STUDY 
YOURSELF—try to figure out what little stunts you do with the 
most care. Study your mannerisms. For instance: we see an actor 
on the stage—say Eddy Foy—we all know the funny little smile he 
has, after seeing it once we never forget it; but if we do,and we happen 
to see him act again, there it is, the same individual smile—something 
that not only you, but EVERYBODY who sees him will associate 
with him whenever they see him or hear his name. 

Now another case: take a cartoonist, for instance—style counts 
everything. It may be the certain kind of action that he repeatedly 
puts into his cartoons, or it may be the composition or any number of 
other good points. But if you will study the different cartoonists’ 
work you will readily understand the importance of developing a 
“personality” to your work. 




40 


MONEY HUNCHES 


Keep one idea in mind—UNUSUAL. Try to develop different 
little stunts to work in your chalk-talk act. Even if it is nothing 
else but kicking your easel or drawing-board over just as you leave 
the stage, or giving a loud yell. 

You will find something individual about your work if you study it, 
and when you find out that some simple little stunt you do gets 
more than usual applause, KEEP PUSHING IT—use it in every 
performance. Thus, you will be taking a great step forward by 
establishing an individual and original mannerism that is sure to help 
you put over your “art” in better style. 


A WORD ABOUT “NERVE” 

In many cases, what is commonly called a “nervy fellow” is 
disliked; however, there is quite a lot about a fellow who has “nerve” 
that is to be admired. Of course, there is such a thing as an individual 
in any line of work being TOO “nervy.” However, I sincerely advise 
the practicing and using of “nerve” by an aspiring chalk-talker. 

You must practice being at ease before an audience—try to appear 
perfectly natural in any pose. Do not be afraid to move around on the 
platform or stage—the more you move the better it will be, as this 
will help to ease your nerves. 

Study other people and how they are to be approached; do not 
be timid or afraid to approach anyone. Gain confidence in yourself. 
Use your “nerve” especially in getting your booking and engagements 
lined up. 

First get your performance into good shape, then practice until 
you are able to “go through” it without a mistake—all your pictures 
and the “chatter.” After you have tried out your performance 
or program on a few of your friends, then see about getting to put on 
your chalks before local clubs in your town, church, or any meeting 
place that such an entertainment will fit in. 

The many opportunities offered in this work are not restricted to 
the professional artist or cartoonist any more than to the beginners. 
An excellent feature of this branch of the work is that it does not 
interfere with one s regular position. Again, this field offers excellent 
opportunities for travel about the country, and is an agreeable diversion 
from the more strenuous phases of the art game. If worked properly, 
this field can be made quite remunerative. This is a branch of the 
art work that does not require the minuteness and painstaking care 
which is so essential in other branches. A greater success is assured, 
if the chalk artist has what is called the “gift of the gab” or a good 






MONEY HUNCHES 


41 


line of talk and jokes, although there are many successful chalk-talkers 
who never say a word during the presentation of their “act/' depending 
entirely upon their art ideas to bring a laugh. 

I would advise, however, that a few jokes be added while drawing 
the picture. You can choose your own jokes, but localize them if 
possible, which always tends to make them more popular and makes 
your pictures “get by" better. 

If you know how to draw the least bit, you can put on a chalk- 
talk. They can be put on successfully at church affairs, school lectures, 
vaudeville houses, lodges or meetings of any kind. In short, a chalk- 
talk is always appreciated any place where entertainment is the primary 
object. Vaudeville circuits are always anxious to book chalk-talkers. 


YOUR FIRST APPEARANCE BEFORE AN AUDIENCE 

A very good way to begin the chalk-talk work is to invite a few 
of your friends to your first performance in your home; then try it 
next in school and later in churches and lodge meetings. It is always 
best to break in slowly and easily so that you will gradually assume a 
self-assured and natural position while at work. 

Audiences will always contribute to a good live chalk-talk by 
contributions taken up at the place of entertainment. Many chalk- 
talkers make from $10.00 to $100.00 an evening. They cordially in¬ 
vite everybody to attend, and when they have presented their act, 
a free will offering is taken up. Some chalk-talkers find that much 
better receipts can be gotten this way than when there is a set ad¬ 
mission. However, you should be able to judge this from the outlook 
of the community. 

It is always customary at a meeting or school performance where 
you are going to give a chalk-talk, that some speaker or presiding 
officer should introduce you and your act. Upon appearing before the 
audience at the beginning of your performance, a bow is customary. 
Always assume an air of nonchalance, standing in an easy and natural 
position at your easel and start making a quick sketch, something 
that has a laugh in it if possible. Try and make it something that the 
audience is very familiar with. In this way, you hold their interest 
from the beginning. Above all, get the interest of your audience and 
hold it from the beginning. 

All your sketches should be quick and snappy. Many successful 
chalk-talkers draw pictures of someone in the audience. This has 
never failed to make a hit. 




42 


MONEY HUNCHES 



But when it comes to dress 
A walk abroad will quickly show 
That woman wants still less. 

—London Opinion. 






Cheer Up! What Kind of a 
Patriot Are You? Don’t be 
a kind that has $$$ in his hair 
and won’t buy LIBERTY 
BONDS. 




A Motto to hang in a henhouse: 
AN EGG A DAY KEEPS THE 
HATCHET AWAY 
(Postscript to above). 
Andlthe hen doesn’t have to 
hatch it either. 


SOME PICTURES FOR THE CHALK-TALKER 







MONEY HUNCHES 


43 


SOME THINGS FOR THE ART STUDENT TO REMEMBER 

First—Be as much of a salesman as an artist—polite and a Iways 
ready with some snappy sketches—dress well and neatly. 

Second—Execute your assignments honestly—never say “Oh, let 
it go at that.” Make a neat pencil layout of the design or illustration 
before inking it in; cultivate the habit of avoiding pencil smears and 
blots, scratches, thumb marks. Clean your design well with art gum 
and mount finished product on cardboard. 

Catalogues are issued yearly by many firms and many pen illus¬ 
trations are called for. Now every art student without going out of 
his room can practice upon objects such as are used in furniture catal¬ 
ogues and “ads”. 

Study carefully the handling other artists use for this kind of 
work. Practice on simple pen lines and work up a few samples to 
have on hand to show when you solicit this kind of work from mer¬ 
chants. 

Remember a cartoonist never knows ahead of time what he will 
have to draw—horses, dogs, poultry, ships, uniforms, portraits of 
prominent people. 

So you should keep systematically filed clippings of everything 
you think you might have to draw sometime. Whenever it is possible 
to draw an object from life you should do so. 

Sketch people all you can—study their character and try to find 
out what makes each different 



GOOD NIGHT! 


A suggestion for the chalk talker—Something to close his program with. 




44 


MONEY HUNC H E S 


“KEEP WISE TO EVERY THING” 

The artist may have no very keen relish for new styles, popular 
songs, clever slang expressions, or the latest creations in young men s 
millinery or ladies’ shirt waists, but he must know all about them 
just the same. Especially must he keep a careful eye on the news in the 
columns of the papers. 

Fads and the topics of the day are the things that interest the people 
he entertains. So he must follow their mind to a certain extent and 
draw what they are thinking about. 

In the comic strips the characters can be made to follow the news 
events. At present the majority of characters are over in Europe 
fighting or somewhere in America in the training camps. It is lots of 
fun to see your favorite comic strip characters being blown up by high 
explosives one day and shot .the next, but always return the next day 
safe and sound at the top of the page, ready to “pull” some other 
funny stunt. 

Fear and violence, two great mirth provokers, are now found on 
the comic page in great abundance. Bombs and 42-centimeter shells 
are assuredly more violent and fearful than mere clubs and well aimed 
bootjacks; so it is pleasant to find that cur comic pages are enjoying 
a proportionate acceleration of humor. 

Being a comic artist has developed into a profession. It may not 
be as learned a profession as that of the lawyer or doctor, but it calls 
for a great fund of knowledge, nevertheless. For instance, the pro¬ 
fessional humorist must be an expert on millinery and ladies’ fashions. 
As these are changing almost every hour, it requires some skill to keep 
abreast of them—or even a lap or two ahead. Such freaks of fashion 
as the slit skirt or the “peg top” skirt are veritable gold mines to the 
artist. Whether or not women see the humor in an exaggeration of 
their costumes, it is certain to appeal to the men, especially if the latter 
have to pay the bills. 


HINTS TO ARTISTS 

Assume an easy, natural position while at work. Be neat and 
careful, painstaking. Do not hurry—take time with your work The 
results will be immeasurably more satisfactory. It is obvious that 
habits of neatness and attention, both in the arrangement and care 
of your studio and its surroundings, as well as your work, are of the ut¬ 
most importance to every student, and cannot be too strongly insisted 





MONEY HUNCHES 


45 


upon. A careless and slovenly person can never attain great excel¬ 
lence in any calling, none the less in art. 

Success is attained in this work by study, practice, application of 
ideas. The one point for the young artist to remember is to keep 
everlastingly at his work and not become discouraged. 

It is not necessary to live in a big city or an art center, though 
in many cases it is an advantage. The art student cannot expect 
large returns from his first efforts. Cash returns for your art work, 
even though very small at first, are worth while if you are improving 
your work so that it will mean better returns later on. 

AND IF YOU KEEP drawing and practicing you will be bound to 
improve. 

Never stop studying—get hold of all the books and instruction 
papers you can pertaining to this work. Try to get as broad a know¬ 
ledge as you possibly can about the future work you are going to special¬ 
ize in. 

After the artist is fairly on the road to success, he may meet many 
obstacles, but these should in no way discourage him. Sometimes he 
may not land a job he goes after or he does not sell a picture. This 
may not be the result of his not being a good enough artist, but it 
may be for any number of reasons. Probably he has gone to the 
wrong master. 

Remember, study your market carefully; you can not sell eggs to 
a dry goods store. Also study the requirements of a newspaper office. 
Many artists work is turned down by editors not because they are 
not good enough artists, but because their work does not meet the 
requirements of the office to which it is submitted. 



Practice drawing comic animals. You can most always get more humor 
by adding funny animals to your drawing. 





46 


MONEY HUNCHES 


TWO WAYS TO SUCCESS 

Pushing, smashing, tireless effort is one way for a young man to 
attain success. Another way is by a “pull.” 

Most young fellows wouldn’t mind a “pull”, It’s an easy way of 
rising above the rest. The protecting influence of a rich father or 
friend, appeals to both the ambitious and the laxy. 

But then, some day, the “pull” may be gone and the fellow who 
had it won’t be so well off as the one who worked for his place. 



The trouble with a “pull” is it takes the impetus out of ambition. 
The glory about “push” is the training it gives in self-help and in¬ 
dependence. 

















MONEY HUNCHES 


47 



To The Fellow Who'll Take My Place 

Here is a toast I want to drink, 

To a fellow I’ll never Know— 

To the fellow who’s going to take my place 
When It’s time for me to go. 

I’ve wondered what kind of a chap he’ll be, 

And I’ve wished I could take his hand 
Just to whisper, “I wish you well, old man ,’ 5 
In a way he’d understand. 

I’d like to give him the cheering word. 

That I’ve longed at times to hear, 

I’d like to give him the warm hand clasp, 

When never a friend seems near; 

I’ve learned my knowledge by sheer hard work. 

And I wish I could pass it on. 

To the fellow who’ll come to take my place 
Some day when I am gone. 

















48 


MONEY HUNCHES 




















MONEY HUNCHES 


49 


Advertise With Pictures 


We make GOOD DRAWINGS for all advertising purposes. 
Let us put originality in your advertising. If you have a booklet 
car card, or any other advertising problem, we can help you 
solve it. Our service is extended to you. Tell us your wants and 
we will help you. 

THE NOVEL ADS STUDIO 

Artists of Originality 

660 OMAHA NATIONAL BANK BLDG. 

Omaha, Neb. 


A Complete Chalk-Talk Program 
$ 1.00 

The drawings are not simply “funny pictures,” they spring 
a SURPRISE on the audience, that’s why so many fellows are 
MAKING GOOD in vaudeville, chautauquas, lodges, churches, 
socials, etc. Public gatherings of any sort enjoy a good chalk-talk. 

I absolutely GUARANTEE my “suggestions” to be the 
very best on the market for the money. 

My stunts and “patter” are not a re-hash of the other 
fellows, they are ORIGINAL. 

Let me send you PROOF that I give SATISFACTION also 
show you how to draw UNCLE SAM—turn the picture up¬ 
side down and see the KAISER. Particulars. FREE. 

“The crowds cheer when they see Truman’s stunts”. 

TRUMAN’S CHALK-TALK 

Box 702 Perrysville, Ohio. 








50 


MONEY HUNCHES 


EVERY 
ARTIST 
OR 
STUDEN 



Should Invest One Dollar 


IN 


“How to Get and Keep Professional Pen Lines 
in Your Work” 


By 


This special prepared les¬ 
son is very valuable to all 
those who handle the pen. 
It will aid you to get clean, 
snappy pen lines in your 
drawings. It teaches the 
trick of successful pen handl¬ 
ing, and explains the differ¬ 
ence between the illustra¬ 
tive and cartoon pen lines. 


GILKISON 


The reason why so many 
art students work looks so 
amateurish is because they 
do not know how to use a 
pen in professional manner. 
Even many successful artists 
feel that they have not mast¬ 
ered the pen, and recognize 
the fact that this holds them 
back in their work. 


LEARN HOW TO DO GOOD PEN WORK 

Do not follow, old style artists. Try to keep your pen work up to 
date and snappy. In my SPECIAL PEN LINE LESSON I take up 
this subject in a thorough manner, showing you the difference in pen 
lines, cartoon and illustrative. I show you the difference between the 
old-style, out-of-date pen work, and that of the up-to-date successful 
artist. If you go about trying to find out what makes certain cartoonist's 
work “stand out" and makes it more in demand, you will find that it 
is because he has excelled in PEN WORK, his lines are not weak and 
mussed up. I would strongly advise every art student to get a copy 
of my lesson on “How to Get and Keep Professional Pen Lines in 
Your Drawings." 

Send $1.00 Today or Stamp for Particulars 
T. V. GILKISON, Cartoonist, Daily News, Omaha, Nebr. 








MONEY HUNCHES 


51 



The 

Biggest 

Chalk 

Talk 

Bargain 

Out 

Price $2 


“How to Put Over Your Chalk Talk in “Big Time Style” 


Contains detailed instructions on dif¬ 
ferent angles of Chalk Talking, giving 
you speeches, ideas, pictures and original 
hunches. A combination program is in¬ 
cluded which contains patriotic, comedy 
and variety stunts. 

Any one who can write can learn to 
chalk talk. Every artist and art student 
should learn chalk talking as a side 
accomplishment. The field is wide and 
easy to enter. It offers a source of extra 
income or can be followed as a profession. 

This instruction shows you how to 
work the perforated pictures stunt. 
This is a great help and will give you 
confidence and will make hard pictures 
easy to draw. You can start right in 
your own town. 

While these chalk talks are mainly 
for the beginner they are equally as 
valuable to the professional chalk- 
talker, because they contain new and 
original stunts—stunts that enable chalk- 
ers to play “big time.” 

When entering the chalk talk field 
you are entering an unlimited field as 


there are so many uses to which a picture 
talk can be put, in any community. 
The chalk talk performer is always in 
demand—at vaudeville, chautauquas, 
churches ,schools, lodges, and public 
gatherings of all kinds. 

The average chalk talker receives 
from $5.00 to $25.00 for a single per¬ 
formance. 

COMPLETE INSTRUCTION 
INCLUDING 

First appearance before an audience. 

What and How to Draw. 

How to use your Nerve. 

Special Stunts—Timely and Local. 

Patriotic work—New Ideas. 

Booking your Engagements—Town to 
town appearances. 

Consider the small price and then the 
vast opportunities. With a single per¬ 
formance which you^can put on a few 
evenings after you receive these chalk 
talk instructions you should easily make 
from two to ten times the small price 
this valuable instruction costs. 


Begin earning money chalk talking now. Invest today in Terry Gilkison’s 
Complete Chalk Talk Instruction.—Including Programs. 

SEND $2.00 TODAY OR STAMP FOR FULL PARTICULARS 
NOVEL ADS STUDIO—SUPPLY DEPT 
660 Omaha Nat’l. Bank Bldg. Omaha, Nebraska 













52 


MONEY HUNCHES 


Something that Every Artist or Art Student 

Should Have. 


We have aranged the following sheets with but one idea in view, and that is, 
to give the artist or art sudent, in compact form, those things that are of the ut¬ 
most value to him or her, at reasonable costs. These publications are guaranteed 
to be just as advertised, and fulfill all that we claim for them or we will refund your 
money. They are published under the supervision of professional men, and are 
subjects gained through many years of training. They are just what you need to 
make your morgue complete. 

Artist Guide Sheet—Price 50c 

Just what you have been looking for. This sheet gives you complete infor¬ 
mation regarding the different mediums used by artists and cartoonists. It also 
shows you the printed effect of each medium used. The explanatary notes tell just 
how the mediums are used to produce the effect, and will enable you to get the same. 

It explains the Ben Day, Ross Board, Crayon, Charcoal, Pencil, Spatter and 
other mediums, and mechanical effects used by leading artists today. 

Many other valuable suggestions. 

Portfolio—Hands and Feet. Price 75c 

The point that makes some artists work stand out more than others is that 
they can draw good hands and feet on their figures. 

This is the weak point about most art students’ work. Not being able to draw 
good hands and feet makes your work appear amateurish. These suggestions, if 
studied carefully, are guaranteed to help you. They show you just how to draw 
hard positions in an easy way. 

Portfolio—Funny Animals. Price 75c 

Funny animals are very hard to draw and get them in unusual poses. These 
suggestions will prove a great help to you. There is nothing that livens a sketch 
up as much as a funny little animal put in some where. Send for these suggestions. 
You will find them a great help. 

Portfolio—Action Sketches and Suggestions. Price 75c 

Do you get stuck on action? You won’t if you have these action sketches. Just 
refer to these when you want some different action. You need these in your morgue. 

Portfolio of Expression Sketches—Price 75c 

This is another one that you need in your morgue to help you when you have 
difficulty in getting the right expressions. This portfolio contains different expres¬ 
sions—sketches both serious and comic. It will prove a great help to you. 

' • 

We have arranged to offer artist this entire list of helpful portfolios in club orders 
for $3.00. This includes all quoted above. 

Send order to day to: 

NOVEL ADS STUDIO—Supply Dept. 

660 Omaha National Bank Building 
Omaha, Nebraska 






Artists and 
Art Students 

We need the assistance 
of Artists and Art Stu¬ 
dents. This is an oppor¬ 
tunity for you to make 
some money and at the 
same time get your own 
work before the public. 

This offer is meant for 
those who wish to take in 
the checks along the way 
to success. The five and 
ten dollar checks. It is 
meant to tide over the per¬ 
son who has his eyes on the heights but who is willing to 
look at the ground to take in the small checks as he is 
mastering his art. 

We offer you the agency of the Novel Ads Service in 
your vicinity. This Ad Service is distinctive, and will, 
therefore, appeal to the progressive merchants. 

We furnish our agents complete instructions, and 
hints on how to sell this service. 

As you may see by the accompanying illustration, 
The NOVEL ADS WINDOW CARD has two slots, the 
upper one to hold the weekly Cartoon that we furnish, 
and the lower one the card which the agent draws and 
letters up to suit the merchant. 

We also furnish you some suggestions on what to 
draw. 

Write today for complete information. 

NOVEL ADS SERVICE 

660 Omaha Nat l. Bank. Bldg. Omaha, Nebr. 





































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BINDERY INC. 




MAR 85 


N. MANCHESTER, 
INDIANA 46962 


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